摘要
本文就观念艺术的"观念"进行理论深描,并将观念艺术的取向分殊为"语言学"与"非理性"两种观念主义。库苏斯美学代表了一种艺术创作的理性模式,与这种理想主义模式相对立的勒维特则认为观念主义艺术是非理性的。这两种观念主义的区分还在于"接受美学"方面。而造就观念艺术的微观要素的——理念——也不是按照逻辑规则推演的,这就将观看观念艺术与阅读哲学根本区分了开来。非理性观念主义美学的特征,是区分于库苏斯那种追随哲学的理性模式的,它以勒维特为实践与理论的代表,从而描绘出观念艺术的另一道风景线。
The article elaborates on the concept of conceptual art and distinguishes the claim of conceptual art into twotypes of conceptualism： linguistics and irrationality. The rational model of art creation is represented by the aesthetics of Kosuth. Sol LeWitt, in opposition to this idealistic model, holds conceptual art to be irrational. Thedifferentiation of the two types of conceptualism involves the aesthetics of reception. And idea, the micro-factor that constructs conceptual art, does not develop by the rules of logic, either. This marks a fundamental differencebetween viewing conceptual art and reading philosophy. The characteristics of the aesthetics of irrational conceptualism is different from Kosuth＇s rational model of philosophy. Its practice and theory is represented byLeWitt and creates a new vision for conceptual art.
出处
《东方艺术》
2013年第3期104-109,共6页
Oriental Art
